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Global Beat Fusion, CD Preview >>
The diversity of African music (and society) is immense. When thinking of the continent, many guitar- and percussion-led styles come to mind, though pondering Egypt, Tunisia, Libya and Algeria, Middle Eastern styles emerge. Of all the North African countries, only Morocco, and this is a broad statement, seems to thread the rhythmic leanings of the lower half to the Arabic world. Mostly known for the streetfighting sounds of raï, Souad Massi is taking her Algerian homeland to another level. One of the international community's most well-known figures of that land, Massi continues working folksy, acoustic-based music with pentatonic African blues guitar work, vocal styles as broad as chaabi and morna, and an obvious love for rock (she used to front metal band Akator). For her latest, Mesk Elil (Honeysuckle), she further spreads southbound wings by inviting prominent guests, including Salif Keita guitarist Djely Moussa Koyate (appearing on five tracks) and Daby Touré, performing on the very chill, lounge-laden title track. That song includes violin and cello as well, making it a seeming attempt at crossing Arabic/African persuasion with pop intentions. While Massi is an incredible songwriter, a reoccurring habit continues: she has yet to create a full, thorough album beginning to end. She seems to exhaust herself in the process of making 11 songs flow together. Even when trying her hand at a new discipline, an electronic remix of "Mahli", she forgets the most essential ingredient: a solid bassline. The gorgeous weaving of guitar and talking drum are given deserved prominence; the lack of a focused groove give it an applauded, almost-there feel. Make no mistake: Massi is a brilliant musician whose musical contributions are important to the evolution of Algerian folk, lyrically and sonically. The small criticisms do not detract from an otherwise stellar performance.
-Beres 12/15/05 >> go there
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